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DISC: 1

1. Valse, Op. 1
2. Mazurkas, Op. 3: I. Tempo Giusto In B Minor
3. Mazurkas, Op. 3: II. Allegretto Non Tanto In F-Sharp Minor
4. Mazurkas, Op. 3: III. Allegretto In G Minor
5. Mazurkas, Op. 3: IV. Moderato In E Major
6. Mazurkas, Op. 3: V. Doloroso In D-Sharp Minor
7. Mazurkas, Op. 3: VI. Scherzando In C-Sharp Minor
8. Mazurkas, Op. 3: VII. Con Passione In E Minor
9. Mazurkas, Op. 3: VIII. Con Moto In B-Flat Minor
10. Mazurkas, Op. 3: IX. Mazurka In G-Sharp Minor
11. Mazurkas, Op. 3: X. Mazurka In E-Flat Minor
12. Allegro Appassionato, Op. 4
13. 2 Nocturnes, Op. 5: I. Andante In F-Sharp Minor
14. 2 Nocturnes, Op. 5: II. Allegretto In A Major
15. 2 Impromptus À La Mazur, Op. 7: I. Impromptus In G-Sharp Minor
16. 2 Impromptus À La Mazur, Op. 7: II. Impromptus In F-Sharp Major
17. 2 Morceaux Pour La Main Gauche, Op. 9: II. Nocturne
18. 2 Impromptus, Op. 10: I. Impromptus In F-Sharp Minor
19. 2 Impromptus, Op. 10: II. Impromptus In A Major
20. 2 Impromptus, Op. 12: I. Impromptus In F-Sharp Major
21. 2 Impromptus, Op. 12: II. Impromptus In B-Flat Minor
22. 2 Impromptus, Op. 14: I. Impromptus In B Major
23. 2 Impromptus, Op. 14: II. Impromptus In F-Sharp Minor
24. Allegro De Concert, Op. 18
25. Polonaise, Op. 21
26. 9 Mazurkas, Op. 25: I. Mazurka In F Minor
27. 9 Mazurkas, Op. 25: II. Mazurka In C Major
28. 9 Mazurkas, Op. 25: III. Mazurka In E Minor
29. 9 Mazurkas, Op. 25: IV. Mazurka In E Major
30. 9 Mazurkas, Op. 25: V. Mazurka In C-Sharp Minor
31. 9 Mazurkas, Op. 25: VI. Mazurka In F-Sharp Major
32. 9 Mazurkas, Op. 25: VII. Mazurka In F-Sharp Minor
33. 9 Mazurkas, Op. 25: VIII. Mazurka In B Major
34. 9 Mazurkas, Op. 25: IX. Mazurka In E-Flat Minor
35. Fantaisie In B Minor, Op. 28
36. 2 Poèmes, Op. 32: I. Andante Cantabile In F-Sharp Major
37. 2 Poèmes, Op. 32: II. Allegro, Con Eleganzza, Con Fiducia In D Major
38. Poème Tragique In B-Flat Major, Op. 34
39. Poème Satanique, Op. 36
40. Valse In A-Flat Major, Op. 38
41. 2 Mazurkas, Op. 40: I. Allegro In D-Flat Major
42. 2 Mazurkas, Op. 40: II. Piacevole In F-Sharp Major
43. Poème, Op. 41
44. Feuillet D'album In F-Sharp Major
45. 2 Poèmes, Op. 44: I. Lento In C Major
46. 2 Poèmes, Op. 44: II. Moderato In C Major
47. 3 Morceaux, Op. 45: I. Feuillet D'album
48. 3 Morceaux, Op. 45: II. Poème Fantasque
49. Scherzo, Op. 46
50. 3 Morceaux, Op. 49: III. Rêverie
51. 4 Morceaux, Op. 51: I. Fragilité
52. 4 Morceaux, Op. 51: III. Poème Ailé
53. 4 Morceaux, Op. 51: IV. Danse Languide
54. 3 Morceaux, Op. 52: I. Poème
55. 3 Morceaux, Op. 52: II. Énigme
56. 3 Morceaux, Op. 52: III. Poème Languide
57. 4 Pièces, Op. 56: II. Ironies
58. 4 Pièces, Op. 56: III. Nuances
59. 2 Morceaux, Op. 57: I. Désir
60. 2 Morceaux, Op. 57: II. Caresse Dansée
61. Feuillet D'album, Op. 58
62. 2 Morceaux, Op. 59: I. Poème
63. Poème-Nocturne, Op. 61
64. 2 Poèmes, Op. 63: I. Masque
65. 2 Poèmes, Op. 63: II. Étrangeté
66. 2 Poèmes, Op. 71: I. Fantastique
67. 2 Poèmes, Op. 71: II. En Rêvant, Avec Une Grande Douceur
68. Vers La Flame, Op. 72
69. 2 Danses, Op. 73: I. Guirlandes
70. 2 Danses, Op. 73: II. Flammes Sombres

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This multi-album set of piano works by Scriabin is the fourth and final installment in Dmitri Alexeev’s monumental endeavor to record Scriabin’s entire oeuvre for the piano on Brilliant Classics, an eight-album collection that includes the earlier Complete Preludes, Complete etudes and Complete Piano Sonatas. This set gathers all the works that do not belong to the uniform cycles of the previous three releases, and the title captures three interesting trends in this huge range of opus numbers spanning 25 years, without being overly prescriptive. The Mazurkas represent a youthful devotion to Chopin that matured into lifelong inspiration; the many Poemes (whether or not they bear that specific title) are emblematic of the imagery and emotional and spiritual content with which the works are imbued; and the Impromptus evoke Scriabin’s mold-breaking compositional freedom and the genius of his idiosyncratic stream of consciousness and individual pianism. There are other noteworthy genres here with an important place in his piano output, including sonata-form movements that ultimately would be stand-alone pieces, nocturnes, other dances, and a pair of album leaves. Many of these pieces provide this collection with valuable continuity, constituting bridges in the development of the composer’s art and pianism between the individual sonatas, etudes and preludes that feature in the previous volumes. Or they provide context: for example, the three pieces of Opus 51 given here are the companions to the Prelude Op.51 No.2 that featured alone in the previous prelude cycle. As such they are not a “catch all” but a worthy and indispensable final piece of the puzzle depicting this extraordinary creator.

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